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#love as a religion
metamorphesque · 1 year
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love is a religion
Anne Sexton, Roberto Ferri, Terese Marie Mailhot, George Frederic Watts, Christopher Soto, Roberto Ferri, Elisabeth Hewer, Roberto Ferri, Sappho (attr.), Roberto Ferri, John Keats, Herbert Draper, Richard Siken, Denis Sarazhin, Katherine Philips, Franz von Stuck, Richard Siken, Gustav Vigeland, Richard Siken
buy me a coffee
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petrichara · 4 months
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I had a friend and we talked in class, his mother was a vicar and we’d talk about God as we studied the philosophy of religion. He was surprising in his faith; he wouldn’t be identified as pious by sight alone. One day we were going over language and equivocation, and I asked him what he meant when he said he believed in God. I was careful in my phrasing of disbelief, that I did not believe in the existence of a God, and I wanted to understand what God was to him. As we talked more, I realised he used the word God like I used the word love. I’ve wondered how many times we use the same word while meaning different things, and losing a shared meaning through terminology
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zorosdimples · 7 months
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there was no universe in which he thought he could be worthy of love—until he met you, that is. your love is a second chance, a fresh start, his saving grace. in you he discovers the beauty of the world and a reason to keep pushing forward, even when he desperately wants to give up. through you all things are made good. through you all things are made holy.
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angstkater · 1 year
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1. Richard Siken, Crush // 2. De Nooit Moede, Smeekbeden // 3. Ron Hicks, Spending More time // 4. (question found on Quora) // 5. Josh Alex Baker, Death Wish // 6. William Shakespeare, Romeo and Juliet
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rantings-at-dusk · 9 months
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Listen listen, my perception of love and relationships has been ruined by this music elf commonly referred to as Hozier. Cause he writes and sings of ✨ DEVOTION ✨ okay, like his love and loving has transcended into something akin to religion, to a faith. Death or Devotion is the commandment.
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angel-bitch-boy · 7 months
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ah ha ha no girl don't use Vampirism, Religion, and/or Cannibalism as a metaphor for all consuming love and obsession you're so sexy ah ha
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stil-lindigo · 7 months
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the fox god.
a comic about a trickster.
--
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all my other comics
store
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taruolentow · 3 months
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when she dies, you will follow her. this was never going to end well: you know this already.
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hauntedmoors · 7 months
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this show rules sorry
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lucidloving · 5 months
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Oscar Wilde // L. Munir, "Lazarus" // Gustav Klimt, The Kiss // @lucidloving // Take Me to Church—Hozier // Richard Siken, "Litany in Which Certain Things Are Crossed Out" // @lucidloving // Gustav Vigeland, Man and Woman // Caitlyn Sieh, "Mythology" // @lucidloving
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damiduck · 17 days
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Damian, handing Bruce a piece of paper with a very neat calendar on it: father, I will be taking a step back from my participation in our nightly patrols. I have carefully considered factors such as, but not limited to, school tests, most likely days for breakouts and when other people will be available. Here is my schedule.
Bruce: any particular reason you are stepping back from Robin?
Damian: I have reached an acceptable age and am by far mature enough, so I will be participating in Ramadan this year, father. Afterwards I will pick my duties up as normal, but with changed sleeping and eating patterns, this is the most logical step for now.
Bruce, who grew up with a jewish mother and christian father who were intent to raise him on some weird mix of the two, then a second father who was atheist, proceeded to lose his entire way in any form of religion due to losing himself in his teen years, took in Jewish boy, then a catholic one with religious trauma, then an atheist one who had no idea how to even approach the idea of religion, followed up by a pagan girl and already making seven different mental lists of things he will need to research, how to add aspects of Islam into their weird family holidays and trying desperately to show his support for his son: ....hnn
Damian: thank you father
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metamorphesque · 1 year
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It’s blasphemous to build so much on another person, and that’s why the fear starts to converge around the foundation, but it’s not so much the fear about you as the fear that such constructions are dared at all. And that’s also why your lovely human face has so much of the divine (although it was probably there to begin with).
Franz Kafka, Letters to Milena
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unearthlycaptivation · 4 months
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a love that’s intense, all-consuming, passionate, adoring, soul deep, violent in emotion, and possessing.
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pocket-size-cthulhu · 11 months
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Hozier writing Francesca: what if every horrible thing you've ever been through has led you, or will yet lead you, to someone you love so much you'd do it all again. What if the suffering is all worth it, not from a religious standpoint but because of someone you love. What if that's all there is - heaven and hell couldn't care less about us, but we care for one another. We endure the unspeakable for one another. What if heaven won't let us in but we wander together through the darkness for eternity knowing we acted in love and having no regrets. What if heaven can't contain people of complexity and passion like ours. What if we were offered the opportunity and we said we'd do it all again.
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howlingtothevoid · 3 months
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Begging God to fix you!
(And other tales about religious trauma)
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midnightsslut · 10 days
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religion is one of the most prominent recurring themes on the album, and it has been present in some capacity for quite a few records now. taylor previously compared love to religion: her saving grace, her belief system, and a fated divine intervention (false god, cornelia street, and cruel summer are the best examples of this). ‘sacred new beginnings that became my religion’ and ‘we’d still worship this love even if it’s a false god’ are two of the defining statements about her philosophy on the lover album.
taylor doesn’t want to leave all of that behind on ttpd, at least not at the beginning. the first supernatural force she mentions is the spaceship on down bad, which she compares to a skylight of freedom in the epilogue. *something* has finally come to save her from her life of suffering. she doesn’t care if it’s a force of good at first; if anything, she’s just fine being taken away by aliens. she views this man as her destiny. it isn’t until guilty as sin? that taylor starts to ponder the moral implications of what she’s doing. is she guilty as sin for wanting to leave her previous religion and relationship behind? she comes to the conclusion that, even if she rolls the stone away and gets resurrected/redeemed, she cannot avoid the fallout. she is okay with the thought of having to wait, as long as both lovers vow to be together forever, just as she once did with someone else in false god. ‘I choose you and me religiously’ finishes the bridge of the song in a direct callback to cornelia street.
the next mention of religion has murkier imagery. she claims that she does not need the Lord’s help to save this man. she sees the halo that he has, and she can fix him herself. now that she feels free of her prior cage, she isn’t looking for divine intervention anymore. she wants control. she is their route to salvation.
when the relationship falls apart, she retreats back into the position of a believer rather than a divine figure. she compares him to a Holy Ghost who promised to save her and take her to heaven. instead, she is in hell in every sense of the word: she’s down bad and feels guilty for digging up the grave. he was a jehovah’s witness who promised that she could break free of the cage imposed by love without changing her religion altogether; she would’ve just had to switch denominations. she could still have a marriage and kids! she could still have a blue tortured poet! the man was different, but not the dreams they had together. the story of the first part of the album ends here. her faith has been broken, and she has only found any semblance of sanity by refusing to mention these belief systems altogether.
side b/the anthology blends the christian imagery of side a with goddesses, sorcerers, and prophecies. she bargains with these powers to let her have the future she wants (the prophecy). she doesn’t sound like someone believing in salvation. if anything, she feels cursed. she decides that the concept of divinely ordained timing will never work in certain relationships (‘the goddess of timing once found us beguiling / she said she was trying / peter, was she lying?’). this disdain extends onto her perception of other people’s faith (‘bet they never spared a prayer for my soul’). she does position herself as a prophet in cassandra, but even then, she admits that the role has hurt her. perhaps the pain in thank you aimee was meant to be, or perhaps she was just strong enough to build a legacy in spite of it, boulder by boulder. is she a martyr? does she want to be? or did she save herself?
the only real love song on this half of the album makes no mention of fate or any divine forces. it wasn’t meant to be. it’s not a supernatural invisible string or lightning in a bottle. she is just in love.
the album ends with the manuscript, which revisits an old story of a defining, formative heartbreak. as she sings ‘at last, she knew what the agony had been for’ while describing the legacy of her writing, she seems to revert to thinking about the purpose of trauma. the only exception is that, in this case, she is the one who found meaning in her pain by turning it into a manuscript. writing is her belief system now, and she proselytizes by telling her stories and thus giving up the manuscript.
ultimately, her belief in destiny has chewed her up and spat her out. she so desperately clung to her existing belief systems that she was fooled by a conman, which left her feeling cursed. religion is supposed to be with someone even in their darkest moments, but the album explains that taylor often felt abandoned. the only constant in her life was, well, herself. she’ll be okay, but her pen will be her saving grace.
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